I did some super quick test footage with my new clog camera update today. The first clip is straight out of the camera & ungraded, and the second has been color graded. The biggest deal about clog is that it doesn’t blow out your highlights or crush your shadows. It looks dull and flat straight out of the camera so that the info hiding in your shadows, highlights and colors can be brought back to full, cinematic life in post production. This is how most of Hollywood shoots films.
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I definitely have a long way to go with learning this whole footage color grading thing (it’s so hard ugh), and I know this graded footage SUCKS lol but other than that, I’m pretty excited about the results with clog added and I can’t wait to see where this goes in the future. I’ll get the hang of it soon enough. Practice makes perfect! #neverstoplearning

Here is another breakdown for a scene from "Two Days," the feature film I DPed in December.
In this scene, I wanted it to be a bit darker because the conversation called for that moody feel. I didn't want to go too dark because that wouldn't fit the scene's emotion. It just couldn't be a super bright cafeteria.
To accomplish this, we put an M18 outside the large windows through a 4x4 of half soft frost. Also outside at a 45 degree angle to the actress, we placed an Arri Sky Panel 60 to light Annie and backlight Allie. On the reverse shot (Allie), we killed the M18 and moved the Skypanel at a 45 degree front angle on Allie. We didn't use the Skypanel because the wall behind Allie had a doorway so it would be impossible for sunlight to hit that back wall.
Looking back, I may have shot the M18 through the small windows on the doors but it may not have worked. I would have at least liked to have tried but we were running out of time and we had to make our day. The schedule was insanely tight so unfortunately, sacrifices have to be made. That's filmmaking. Either way, I'm still very happy with the way it turned out. The angle of the sun wouldn't really have made sense anyway.
By the way, it was already dark outside. We were into twilight at this point so that M18 really helped sell the sunlight outside the window.
Finally, we also had a bounce board to knock back the Skypanel light as fill light onto their faces.
Attached is the lighting breakdown so you can see the layout.
We shot on Cooke S4i lenses and I monitored through the SmallHD 502 with OS3 as well as my Flanders Scientific monitor which helped greatly.
More detailed info here:
https://www.pauldv.net/single-post/2018/02/21/Two-Days---Lighting-Diagrams-Part-4 .
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